This is a unique, groundbreaking collection of autobiographical essays by leading women in philosophy. It provides a glimpse at the experiences of the generation that witnessed, and helped create, the remarkable advances now evident for women in the field.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Aquinas’s Theory of Natural Law: An Analytic Reconstruction by Anthony J. LisskaV. Bradley LewisAnthony J. Lisska. Aquinas’s Theory of Natural Law: An Analytic Reconstruction. Oxford: Clarendon Press, 1996. Pp. xv + 320. Paper, $24.95.This volume aims to provide an explication of the natural law theory of St. Thomas Aquinas “consistent with the expectation of philosophers in the analytic tradition” (10–11, 17). Accordingly, the author begins, in the first (...) three chapters, by reviewing the recent history of Anglo-American metaethics, aligning himself broadly with those critics of analytic ethics like G. E. M. Anscombe, Alasdair MacIntyre, John Finnis, Martha Nussbaum, and Henry Veatch, who have argued for a recovery of Aristotelian moral theory, against varieties of intuitionism, non-cognitivism, and neo-Kantianism. Lisska’s principal objective is to present a reconstructed natural law theory based primarily on Aquinas’s discussion in questions 90–97 of the prima secundae of the Summa theologiae (a translation of these questions is appended to the book). This he offers mostly in the fourth, fifth and eighth chapters of the book. The sixth chapter is a critique of John Finnis’s account of natural law and the seventh is an exposition of the views of Henry [End Page 526] Veatch. The ninth chapter presents some suggestions on how the author’s account can illuminate controversies over the grounding of human rights, and the tenth is a brief conclusion.The three introductory chapters consist mainly of a review and endorsement of the critics of academic ethics since Moore’s Prıncipia Ethıca. Having accepted arguments for the inadequacy of modern ethics, Lisska argues for the recovery of Aquinas’s views which he sees as in fundamental continuity with Aristotelian ethics (84, 89, 100, 102–105, 108, 134–36). His central thesis is that natural law is a “second-order inquiry” based on a realist metaphysics of the human person as defined by a set of dispositional properties, the realization of which constitutes Aristotelian eudaimonia and Thomistic beatitudo (17, 104–106, 131–37, 152–55, 186, 195–201). Moreover, Lisska contends that Aristotelian “eudaimonism” constitutes an adequate account of moral obligation: what he calls, after Veatch, “obligatory teleology” (107–109, 121, 202–205, 235).At the core of Lisska’s account, then, is a metaphysical dispute that pits Aristotelian essentialism against modern reductionist ontology. This metaphysical core is separated from any theological implications in the fifth chapter (especially 119–23, 137) and Lisska reinforces his metaphysical thesis by appealing to Saul Kripke’s discussion of natural kinds and the early work of Hilary Putnam (97–99, 125, 206–209). Given the centrality of metaphysical argument, a critique of Finnis’s theory goes without saying, and Lisska devotes a chapter to it, adding another to expound Henry Veatch’s contrary view.While this book undertakes an important effort to recover a workable natural law theory—especially in its commendable stress on metaphysical questions—it is, as a whole, less satisfactory than it might have been. A good part of this owes to the book’s abstraction from historical questions. No sustained attention is devoted to the problems that accompanied the reception of Aristotle by Christian theologians, nor to the place of natural law in Aquinas’s overall understanding of morality. The former point is not so surprising, given the book’s analytic concerns; the latter, however, carries more serious theoretical implications. Why is it, for example, that natural law takes up so little space compared to the questions on happiness, human acts, and the habits and virtues in the prima secundae, not to mention the detailed treatments of the virtues and vices in the secunda secundae? Similarly, where Aquinas stresses that natural law as law is directed to the common good (Iallae 90.2), Lisska treats it mostly as a guide to “self-realization.”This issue suggests the tensions between Aristotle and Aquinas, tensions that seem to show themselves precisely in Aquinas’s discussion of the very notion of natural law, a notion that has no equivalent in Aristotle. This question hangs over Lisska’s brief treatment of obligation, in particular, since that concept is also lacking explicit treatment in... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Petrification of Cleopatra in Nineteenth Century Art MARGARET MALAMUD MARTHA MALAMUD What did Cleopatra look like? Was she a Roman, a Ptolemaic Greek, an Egyptian, an African? Was she a precocious child, a devastatingly beautiful seductress, an astute practitioner of imperial politics, a murderess, a longnosed blue-stocking? [Figure 1] Cleopatra is dead, but “Cleopatra ” exists in the eye of the beholder. What other human being has (...) been portrayed in such “infinite variety”? In her life, and even more in her afterlife, the protean queen of the Nile has, like a shaft of sunlight focused through a magnifying glass, clarified and set ablaze underlying ideologies and overt assertions of race and gender, manifested differently in disparate times and places. Here we consider two case studies of nineteenth century representations of Cleopatra in stone: William Wetmore Story’s Cleopatra (1860) and Edmonia Lewis’s The Death of Cleopatra (1876). [Figarion 28.1 spring/summer 2020 Figure 1: Bust of Cleopatra VII, 40–30 bce, Altes Museum, Berlin. 32 the petrification of cleopatra ure 2] Story, a wealthy and well-connected white expatriate living in Rome, gave the famous queen features that deviated from classicizing portrayals of the queen and struck critics as startling and original. American artist Edmonia Lewis, of Black West Indies / Ojibwa Native American descent, lived and worked in Rome, but as a poor, racially-mixed female artist she moved in quite different social circles than Story. Her decision to sculpt the Egyptian queen as a white woman Figure 2: William Wetmore Story, Cleopatra, 1858; this carving 1869, Metropolitan Museum of Art, New York. Margaret Malamud, Martha Malamud 33 dying in agony during the last moments of her suicide shocked and fascinated critics. Both works display a very different understanding of women, the Orient, the Classical past, and the exotic Black other. We understand and contextualize these strikingly different representations of Cleopatra by looking at the comments of contemporary writers and critics. Lewis and her Death of Cleopatra inspired the twenty-first century Black poet Tyehimba Jess, with whose poetic evocation of Lewis and her work we conclude. In the middle of the nineteenth century, when most portrayals were of Cleopatra as a classical Greek beauty, William Wetmore Story boldly gave the famous queen African features. Story, an American emigré artist and “cultural influencer,” was living in Rome on the eve of the American Civil War. While there, he sculpted Cleopatra, which he began in 1858, completed in 1860, and exhibited to great acclaim at the 1862 World Exposition in London. Story was from Boston, where abolitionist sentiments were prominent, and was well aware of racial politics in the United States. Concerned by British support for the American South, he wrote a series of letters from Rome to the British Daily News in December of 1861 in which he denounced the institution of slavery, explained why he was devoted to the Union, and urged British neutrality in the Civil War. His Cleopatra was a provocative abolitionist statement. From the late eighteenth century on, free African Americans faced two pressing tasks: to refute charges that they were racially inferior to white people and to insert themselves into the historical record. ManyAfrican Americans and their supporters argued that there was a clear connection between ancient Africa (Ethiopia and Egypt) and the classical world based on their reading of classical texts and late eighteenth and early nineteenth century world histories. Educated African Americans documented the debt of Greece and Rome to Egyptian civilization, and repeatedly pointed out that Egypt was a major source of the cultural achievements of Greco-Roman an- 34 the petrification of cleopatra tiquity.It was conventional wisdom that Egyptian civilization influenced Greece. What was new and controversial was the assertion of a racial connection between ancient Egyptians and modern African Americans. Abolitionists used this constructed racial history to argue that the magnificent civilization of ancient Egypt and its influences on Greek and Roman culture were proof that African Americans were not racially inferior and therefore fully worthy to be citizens with equal rights in the American Republic.1 By the 1860s it had become a commonplace in American abolitionist circles that antiquity ’s most famous queen was... (shrink)

Living Philosophy, Second Edition, is a historically organized, introductory hybrid text/reader that guides students through the story of philosophical thought from the Pre-Socratics to the present, providing cultural and intellectual background and explaining why key issues and arguments remain important and relevant today. Women philosophers are well represented throughout the text. They include Mary Wollstonecraft, Simone de Beauvoir, Hélène Cixous, Martha Nussbaum, Alison Jaggar, Annette Baier, Virginia Held, and many more. Non-Western philosophers are also included: Avicenna, Averroës, Maimonides, Buddha, (...) Lao-Tzu, and Confucius. Featuring an exceptionally clear and accessible writing style, this unique volume brings philosophy to life with well-chosen excerpts from philosophers' works, abundant in-text learning aids, and compelling color photos and illustrations. FEATURES * A comprehensive introductory chapter lays the groundwork for philosophical thinking * "Then and Now," "Details," and "Portrait" boxes throughout the text demonstrate the value and relevance of philosophy * Additional pedagogical aids--chapter objectives and summaries, marginal critical thinking questions, essay/discussion questions, and a glossary--make the material even more engaging and accessible * In-depth coverage of philosophical writing includes step-by-step coaching in argument basics and multiple opportunities to hone critical thinking skills * Charts, tables, and color photos keep students visually engaged * A "How to Write a Philosophy Paper" appendix offers concise, step-by-step guidance in crafting an effective philosophical essay. (shrink)

Resumen: Esta nota crítica analiza la perspectiva que Martha Nussbaum presenta sobre la emoción de la ira en su último libro Anger and Forgiveness. Resentment, Generosity, Justice. Para ello sitúo esta obra en el contexto del proyecto filosófico de la autora y señalo algunos cambios y continuidades en su análisis de la ira; después reviso a la luz de este nuevo libro algunas de las críticas que, centradas en la reivindicación de la ira, ha recibido su propuesta de una (...) cultura política centrada en las emociones “humanizadoras”.: This critical note examines Martha Nussbaum’s perspective on anger presented in her last book Anger and Forgiveness. Resentment, Generosity, Justice. I place this book in the context of Nussbaum’s philosophical project in order to trace changes and continuities in her views on anger, and then I examine some criticisms that have been held against her proposal of a political culture based on humanizing emotions based on the vindication of anger. (shrink)

In this Volume, published in1998, Fifteen scholars reveal the ways of preserving, conceiving and creating beauty were as diverse as the cultural influenced at work at the time, deriving from antique, medieval and more recent literature and philosophy, and from contemporary notions of morality and courtly behaviour. Approaches include discussion of contemporary critical terms and how these determined writers' appreciation of paintings, sculpture, architecture and costume; studies of the quest to create beauty in the work of artists such as Botticeli, (...) Leonardo, Raphael, Parmigianino and Vasari; and the investigation of changes functioning of the eye and brain, or to technical innovations like those found in Venetian glass. (shrink)

Hermann Grassmann's Ausdehnungslehre of 1844 and his Lehrbuch der Arithmetik of 1861 are landmark works in mathematics; the former not only developed new mathematical fields but also both contributed to the setting of modern standards of rigor. Their very modernity, however, may obscure features of Grassmann's view of the foundations of mathematics that were not adopted since. Grassmann gave a key role to the learning of mathematics that affected his method of presentation, including his emphasis on making initial assumptions explicit. (...) In order to better understand this less well-known aspect of his work it will help to examine why some commentators have overlooked his theme of unifying logic, pedagogy and foundations, while others have recognised it. (shrink)

The topic of this essay is what I name the idea that God the Creator and creatures comprise an exhaustive and mutually exclusive classification of the contents of reality. I am concerned with one of the most penetrating discussions of this issue to be found in the early thirteenth century, Robert Grosseteste’s treatment of challenges to Christian dualism.

This chapter contains section titled: Sample Coordination Problems Analysis of Coordination Problems Solving Coordination Problems Convention Sample Conventions.

European Journal of Philosophy, EarlyView.

The object of this paper is partly to plead a cause, partly to proclaim a grievance. The last domain of ancient Greek life to attract the serious attention and study of modern scholars has been that of Greek Religion; and the exposition of it has revealed its many vital points of contact with the moral and spiritual energy and the artistic and poetic monuments of the ancient Hellenic race. An enthusiastic votary of this study might venture to hope that some (...) general acquaintance with its facts and ideas would henceforth be recognized as belonging to the general curriculum of Hellenic culture. But any one merely interested in the good workmanship of the classical commentary ought at least to insist that something more than a general acquaintance with this subject should be regarded by those who set themselves to edit certain portions of the Greek classics as an essential preliminary and as a necessary part of their scholarly equipment. The authors to whom this rule specially applies are Hesiod, Pindar and the Attic Dramatists. A satisfying commentary on Hesiod is still a desideratum; and for such an achievement a long apprenticeship in anthropology and religious studies would be a necessity. (shrink)

Jan-Christopher Horak _Making Images Move: Photographers and Avant-Garde Cinema_ Washington and London: Smithsonian Institution Press, 1997 1-56098-744-8 297 pages.

This essay addresses two aspects of Persson and Savulescu's case for moral enhancement: 1) the precise technological nature of ultimate harm, particularly as it applies to the ecological crisis, and 2) what is at stake in the solution they propose. My claim is that Persson and Savulescu's treatment of both issues is inadequate: the ecological crisis is a more complex phenomenon than they suppose, and more is at stake in moral enhancement than they claim. To make my case I draw (...) on the work of Hans Jonas, who presciently and insightfully dealt with related questions. Jonas’ philosophy unites bioethical, technological, and environmental concerns and so offers a useful contrast to Persson and Savulescu's proposal. If my analysis is correct then we have both practical and principled reasons to be sceptical about the prospect of moral bioenhancement, which I assume, for the sake of argument, to be feasible.1. (shrink)

Inspired by a passage from Kate Chopin’s The Awakening, this article considers the possibility of a “medical sublime.” It works through a history of the sublime in theory and in the arts, from ancient times to the present. It articulates therapeutic dimensions of the sublime and gives contemporary examples of its medical relevance. In addition, it develops the concept of sublime-based stress-reduction workshops and programs. These workshops bring the sublime out of the library and the museum into the lives of (...) the healthcare community—patients, families, clinicians, staff, concerned others—in the service of better navigating human vulnerability and finitude. Opening the cannon of aesthetic theory and the arts as resources for the human condition is at the heart of health humanities. The sublime can be an invaluable tool in this task. (shrink)

S.O.S. Songs of the Sea is the perfect mix of music, creativity, and fun for music teachers, classroom teachers, child care providers ... and kids! Students will enjoy learning about the sea and its creatures through the engaging songs and activities. Classroom curriculum, music, crafts, and snacks are integrated, overlapped and joined to immerse students in a joyful, creative learning experience.